The tragic story of Beatles member John Lennon’s murder at the hands of the deranged Mark Chapman has been committed to celluloid twice before, in 2007′s The Killing of John Lennon and 2008′s Chapter 27, but another project is now in the works that takes a different approach to the event.
The Lennon Report, from first-time director Jeremy Profe, will explore the frantic aftermath of the shooting as police officers and emergency doctors raced to save Lennon’s life. Today, Kevin Dillon boarded the movie in the role of a New York City motorcycle cop.
Much like Parkland centered on the aftermath of the JFK assassination, The Lennon Report focuses on real people who were inside Roosevelt Hospital as doctors and nurses did their best to save Lennon’s life. Among those present was Alan Weiss, a Wabc-tv producer who discovered that Lennon had been shot while being treated for an unrelated motorcycle injury.
The Lennon Report, from first-time director Jeremy Profe, will explore the frantic aftermath of the shooting as police officers and emergency doctors raced to save Lennon’s life. Today, Kevin Dillon boarded the movie in the role of a New York City motorcycle cop.
Much like Parkland centered on the aftermath of the JFK assassination, The Lennon Report focuses on real people who were inside Roosevelt Hospital as doctors and nurses did their best to save Lennon’s life. Among those present was Alan Weiss, a Wabc-tv producer who discovered that Lennon had been shot while being treated for an unrelated motorcycle injury.
- 8/14/2014
- by Isaac Feldberg
- We Got This Covered
Artist Sam Taylor-Wood surprises us with an old-fashioned, affecting film exploring John Lennon's early years, writes Philip French
As composers, performers, producers and the subjects of documentaries, John Lennon, Paul McCartney, George Harrison and Ringo Starr have made a remarkable contribution to the cinema over the years. The dominant figure, of course, has been Lennon. He's been impersonated by his fellow Liverpudlian Ian Hart in both Backbeat, Iain Softley's film about the Beatles in Hamburg, and The Hours and Times, Christopher Munch's picture about his 1963 trip with Brian Epstein to Barcelona, and more fleetingly in Todd Haynes's Bob Dylan movie I'm Not There. He's at the centre of a fascinating documentary on his political activities, The Us vs John Lennon (2006) and haunts the shadowy edges of The Killing of John Lennon, Andrew Piddington's 2006 portrait of his assassin, Mark Chapman. Now we have Sam Taylor-Wood's feature debut,...
As composers, performers, producers and the subjects of documentaries, John Lennon, Paul McCartney, George Harrison and Ringo Starr have made a remarkable contribution to the cinema over the years. The dominant figure, of course, has been Lennon. He's been impersonated by his fellow Liverpudlian Ian Hart in both Backbeat, Iain Softley's film about the Beatles in Hamburg, and The Hours and Times, Christopher Munch's picture about his 1963 trip with Brian Epstein to Barcelona, and more fleetingly in Todd Haynes's Bob Dylan movie I'm Not There. He's at the centre of a fascinating documentary on his political activities, The Us vs John Lennon (2006) and haunts the shadowy edges of The Killing of John Lennon, Andrew Piddington's 2006 portrait of his assassin, Mark Chapman. Now we have Sam Taylor-Wood's feature debut,...
- 12/27/2009
- by Philip French
- The Guardian - Film News
Current events inform these two genre films: Daniel Myrick’s The Objective takes place against the backdrop of the war in the Middle East, while Jeff Fisher’s Killer Movie puts a horrific spin on the endless reality-television trend. For The Blair Witch Project’s Myrick, The Objective marks a return to the scenario of a group of people venturing into forbidding territory where mysterious forces threaten them, while Fisher has intimate knowledge of his film’s specific milieu, having served time on the likes of The Real World/Road Rules and The Simple Life. But while the former effectively makes an already harrowing situation worse with the introduction of the supernatural, the latter doesn’t come up with anything that’s as scary as, say, the prospect of sitting through a whole season of Paris Hilton hijinx. Myrick, who scripted The Objective with Mark A. Patton and Wesley Clark Jr.,...
- 4/21/2009
- Fangoria
LONDON -- Joe Wright's "Atonement" leads the field of nominations for this year's British Academy Film Awards, securing 14 noms, ahead of the Coen brothers' "No Country for Old Men" and Paul Thomas Anderson's "There Will Be Blood", both of which took nine slots.
The trio of titles are all in the race for the best film award along with Ridley Scott's "American Gangster" and last year's foreign-language Oscar winner Florian Henckel von Donnersmarck's "The Lives of Others". Both "Gangster" and "Others" scored five nominations.
Wright, Joel and Ethan Coen, Anderson and Henckel von Donnersmark also will battle it out with Paul Greengrass for the evening's best director nod, with Greengrass nominated for "The Bourne Ultimatum".
The best British film award, one of 23 awards dished out by the British Academy of Film and Television, will go to one from "Atonement", "Ultimatum", "Control", "Eastern Promises" and "This Is England".
George Clooney ("Michael Clayton"), Daniel Day-Lewis ("There Will Be Blood"), James McAvoy ("Atonement"), Viggo Mortensen ("Eastern Promises") and Ulrich Muehe ("The Lives of Others") all secure nominations for best actor.
Cate Blanchett has two nominations, for leading actress in "Elizabeth: The Golden Age" and supporting actress in "I'm Not There".
Blanchett will have to triumph over Julie Christie ("Away From Her"), Marion Cotillard ("La Vie en Rose"), Keira Knightley ("Atonement") and Ellen Page ("Juno") to secure the best actress nod.
And Kelly Macdonald ("No Country"), Samantha Morton ("Control"), Saoirse Ronan ("Atonement") and Tilda Swinton ("Michael Clayton") might have something to say in the supporting actress race.
Javier Bardem and Tommy Lee Jones (both for "No Country"), Paul Dano ("Blood"), Philip Seymour Hoffman ("Charlie Wilson's War") and Tom Wilkinson ("Michael Clayton") are slugging it out for supporting actor.
The prize for best animated film will be drawn by "Ratatouille", "Shrek the Third" or "The Simpsons Movie".
Nominations for the Carl Foreman Award for special achievement by a British director, writer or producer in their first feature include Chris Atkins for writing and directing the documentary "Taking Liberties", Mia Bays for her producer role on documentary "Scott Walker: 30 Century Man", Sarah Gavron for helming "Brick Lane", Matt Greenhalgh for penning "Control" and Andrew Piddington for writing and directing "The Killing of John Lennon".
The original screenplay prize is a contest between Steven Zailian ("American Gangster"), Diablo Cody ("Juno"), Henckel von Donnersmarck ("Lives of Others"), Tony Gilroy ("Michael Clayton") and Shane Meadows ("This Is England").
Nominations for adapted screenplay are Christopher Hampton ("Atonement"), Ronald Harwood ("The Diving Bell and the Butterfly"), David Benioff ("The Kite Runner"), the Coens ("No Country") and Anderson ("Blood").
The winners will be announced Feb. 10 at London's Royal Opera House.
A complete list of nominations follows:
Best film
"American Gangster" -- Brian Grazer/Ridley Scott
"Atonement" -- Tim Bevan/Eric Fellner/Paul Webster
"The Lives of Others" -- Quirin Berg/Max Wiedemann
"No Country for Old Men" -- Scott Rudin/Joel Coen/Ethan Coen
"There Will Be Blood" -- JoAnne Sellar/Paul Thomas Anderson/Daniel Lupi
British film
"Atonement" -- Tim Bevan, Eric Fellner, Paul Webster, Joe Wright, Christopher Hampton
"The Bourne Ultimatum" -- Frank Marshall, Patrick Crowley, Paul L.
The trio of titles are all in the race for the best film award along with Ridley Scott's "American Gangster" and last year's foreign-language Oscar winner Florian Henckel von Donnersmarck's "The Lives of Others". Both "Gangster" and "Others" scored five nominations.
Wright, Joel and Ethan Coen, Anderson and Henckel von Donnersmark also will battle it out with Paul Greengrass for the evening's best director nod, with Greengrass nominated for "The Bourne Ultimatum".
The best British film award, one of 23 awards dished out by the British Academy of Film and Television, will go to one from "Atonement", "Ultimatum", "Control", "Eastern Promises" and "This Is England".
George Clooney ("Michael Clayton"), Daniel Day-Lewis ("There Will Be Blood"), James McAvoy ("Atonement"), Viggo Mortensen ("Eastern Promises") and Ulrich Muehe ("The Lives of Others") all secure nominations for best actor.
Cate Blanchett has two nominations, for leading actress in "Elizabeth: The Golden Age" and supporting actress in "I'm Not There".
Blanchett will have to triumph over Julie Christie ("Away From Her"), Marion Cotillard ("La Vie en Rose"), Keira Knightley ("Atonement") and Ellen Page ("Juno") to secure the best actress nod.
And Kelly Macdonald ("No Country"), Samantha Morton ("Control"), Saoirse Ronan ("Atonement") and Tilda Swinton ("Michael Clayton") might have something to say in the supporting actress race.
Javier Bardem and Tommy Lee Jones (both for "No Country"), Paul Dano ("Blood"), Philip Seymour Hoffman ("Charlie Wilson's War") and Tom Wilkinson ("Michael Clayton") are slugging it out for supporting actor.
The prize for best animated film will be drawn by "Ratatouille", "Shrek the Third" or "The Simpsons Movie".
Nominations for the Carl Foreman Award for special achievement by a British director, writer or producer in their first feature include Chris Atkins for writing and directing the documentary "Taking Liberties", Mia Bays for her producer role on documentary "Scott Walker: 30 Century Man", Sarah Gavron for helming "Brick Lane", Matt Greenhalgh for penning "Control" and Andrew Piddington for writing and directing "The Killing of John Lennon".
The original screenplay prize is a contest between Steven Zailian ("American Gangster"), Diablo Cody ("Juno"), Henckel von Donnersmarck ("Lives of Others"), Tony Gilroy ("Michael Clayton") and Shane Meadows ("This Is England").
Nominations for adapted screenplay are Christopher Hampton ("Atonement"), Ronald Harwood ("The Diving Bell and the Butterfly"), David Benioff ("The Kite Runner"), the Coens ("No Country") and Anderson ("Blood").
The winners will be announced Feb. 10 at London's Royal Opera House.
A complete list of nominations follows:
Best film
"American Gangster" -- Brian Grazer/Ridley Scott
"Atonement" -- Tim Bevan/Eric Fellner/Paul Webster
"The Lives of Others" -- Quirin Berg/Max Wiedemann
"No Country for Old Men" -- Scott Rudin/Joel Coen/Ethan Coen
"There Will Be Blood" -- JoAnne Sellar/Paul Thomas Anderson/Daniel Lupi
British film
"Atonement" -- Tim Bevan, Eric Fellner, Paul Webster, Joe Wright, Christopher Hampton
"The Bourne Ultimatum" -- Frank Marshall, Patrick Crowley, Paul L.
- 1/17/2008
- The Hollywood Reporter - Movie News
IFC Films
NEW YORK -- The Killing of John Lennon boasts an undeniable technical proficiency and historical authenticity, but this docudrama detailing assassin Mark David Chapman's obsession, stalking and eventual murder of the beloved Beatle nonetheless has an unavoidably exploitative feel.
One of two movies -- Chapter 27, starring a fattened-up Jared Leto, is the other -- recently made concerning the event, the film lacks the depth that might justify its existence. The picture opened Wednesday for an exclusive engagement at New York's IFC Center.
In both his screenplay and his visuals, filmmaker Andrew Piddington applies a powerful documentary-style approach to the material, filming for the most part on actual locations (the shooting at the Dakotas, thank goodness, was re-created on a soundstage) and incorporating numerous excerpts from the killer's diaries as voice-overs.
The film dutifully covers all of the story's important elements, including Chapman's leaving his Japanese-American wife (Mie Omori) in Honolulu; traveling to New York and spending several months doggedly trailing his prey; the obsession with Catcher in the Rye and his view of Lennon's supposed hypocrisy that fueled his rage; and the immediate aftermath of the killing, including a less-than-illuminating session with a police shrink.
The filmmaker attempts to give us clues to the killer's mental state with effective stylistic devices, as well as several fantasy sequences, including one in which Chapman imagines shooting a homosexual couple.
But despite such attempts at providing psychological context for his actions, Chapman inevitably remains an enigma, a severely disturbed young man whose motivations necessarily resist explication. And the film does itself no favors with its direct quoting of touchstones of this genre such as Taxi Driver.
Jonas Ball delivers an impressively restrained performance in the central role, his deadpan facial expressions and monotone vocals proving far more creepy than he if had indulged in histrionics.
NEW YORK -- The Killing of John Lennon boasts an undeniable technical proficiency and historical authenticity, but this docudrama detailing assassin Mark David Chapman's obsession, stalking and eventual murder of the beloved Beatle nonetheless has an unavoidably exploitative feel.
One of two movies -- Chapter 27, starring a fattened-up Jared Leto, is the other -- recently made concerning the event, the film lacks the depth that might justify its existence. The picture opened Wednesday for an exclusive engagement at New York's IFC Center.
In both his screenplay and his visuals, filmmaker Andrew Piddington applies a powerful documentary-style approach to the material, filming for the most part on actual locations (the shooting at the Dakotas, thank goodness, was re-created on a soundstage) and incorporating numerous excerpts from the killer's diaries as voice-overs.
The film dutifully covers all of the story's important elements, including Chapman's leaving his Japanese-American wife (Mie Omori) in Honolulu; traveling to New York and spending several months doggedly trailing his prey; the obsession with Catcher in the Rye and his view of Lennon's supposed hypocrisy that fueled his rage; and the immediate aftermath of the killing, including a less-than-illuminating session with a police shrink.
The filmmaker attempts to give us clues to the killer's mental state with effective stylistic devices, as well as several fantasy sequences, including one in which Chapman imagines shooting a homosexual couple.
But despite such attempts at providing psychological context for his actions, Chapman inevitably remains an enigma, a severely disturbed young man whose motivations necessarily resist explication. And the film does itself no favors with its direct quoting of touchstones of this genre such as Taxi Driver.
Jonas Ball delivers an impressively restrained performance in the central role, his deadpan facial expressions and monotone vocals proving far more creepy than he if had indulged in histrionics.
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